Mossman’s score and the filtered, painterly cinematography by David Gallego are by some distance the film’s most interesting features; the rest of the drama is in fact a slog, full of ponderous long takes and somewhat tinny dialogue.

For a tale that's the classically heavy stuff of Greek tragedy, The Last Son offers woefully little suspense or momentum.

Worthington has been inconsistent in the past, but he's solid in a role that emphasizes his physical presence while only calling on him to speak when absolutely necessary.

The performances are great and the film impresses on a technical level, its menacing score and the widescreen compositions of wintry landscapes both having impact.